CAJ | 학술논문

接受美学根植于西方的阐释学传统，认为理解是读者视野对象化的过程，是个体期待视野和历史视野的融合。当读者期待视野和作品之间的审美距离过大时又会制约视野融合，读者也无法实现文本召唤结构的具体化。从接受美学角度来看，翻译都是基于前理解的再创作。《神州集》是体现庞德诗学思想和审美体验的翻译试验，他通过移植和重构两种方式最大程度上保留了中国诗的灵魂——意象。《神州集》的翻译实现了诠释的循环，本质上体现了接受美学的旨归。
접수미학근식우서방적천석학전통，인위리해시독자시야대상화적과정，시개체기대시야화역사시야적융합。당독자기대시야화작품지간적심미거리과대시우회제약시야융합，독자야무법실현문본소환결구적구체화。종접수미학각도래간，번역도시기우전리해적재창작。《신주집》시체현방덕시학사상화심미체험적번역시험，타통과이식화중구량충방식최대정도상보류료중국시적령혼——의상。《신주집》적번역실현료전석적순배，본질상체현료접수미학적지귀。
Rooted in the tradition of western Hermeneutics, Reception Aesthetics regards readers’comprehension as the substantialization of diverse horizons, the fusion of horizons of individual expectation and history. However, the aesthetic distance between the work and readers’horizon of expectation, if unacceptably wide, may block the fusion of horizons, and prevent its readers from concretizing the inviting structure of the work. From the perspective of Reception Aesthetics, translation is a sort of recreation based on preunderstanding. Cathay,therefore,is a transla?tion experiment that tells Pound’s poetics and aesthetic experience. In Cathay, Pound, by means of transplanting and reproducing, endeavors to reserve the soul of Chinese poetry—image, which embodies the hermeneutic circula?tion and reflects principles of Reception Aesthetics.